Creative economies of tomorrow? Limits to growth and the uncertain future

Banks, Mark

doi:10.1080/09548963.2018.1534720

Cited by 33 publications

(26 citation statements)

References 23 publications

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“…Constructively, cultural policy is the government's efforts to make regulations on cultural development and empowerment that involve public participation to foster a form of cultural democracy (Mulcahy 2006(Mulcahy , 2017Hadley & Belfiore 2018;Mennell 1981;Belfiore 2016;Langsted 1989;Gibson & Edwards 2016), strengthen cultural values (Behr et al, 2017;Walmsley 2018;Oman 2019;Manchester & Prett 2015;Oancea et al, 2018;Belfiore 2018), and enrich national identity (Villarroya 2012;Al-Zo'by 2019). Nevertheless, cultural policies in the era of market civilization have always brought diverse business interests for maximum capital accumulation (Wise 2002;Banks 2018;Throsby 2010;Craik 2007;Frey 2000;Bille et al, 2016;Hesmondhalgh & Pratt 2005;Haans & van Witteloostuijn, 2018).…”

Section: The Problem Of Post-colonial Subjectivity and Cultural Policymentioning

confidence: 99%

Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism

Setiawan¹,

Subaharianto²

2020

Proceedings of the 4th International Conference on Arts Language and Culture (ICALC 2019)

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This article aims to explore the concept and practice of neo-exoticism as an ideal-flexible formula for developing ethnic arts in the midst post-colonial society and neoliberal tourism industry. By analyzing our field data from various events of cultural tourism in Banyuwangi, East Java, Indonesia, we will elaborate some concepts and practices of neo-exoticism. We adopt and develop the idea of neo-exoticism from the concept of "post-colonial exotic" by Huggan (2001), which describes the contestation between the desire of intellectuals and activists to preserve traditional cultures continuously as a significant marker for national identity and the state's policy to incorporate the beauty of exotic cultures into commercial activities. The framework will help us to analyze primary data from participatory observation in cultural tourism activities in Banyuwangi and interview with some folk artists from 2012-2019 as well as secondary data from online news media. The result of this study shows that the neo-exoticism formula in the development of ethnic arts has several advantages. For the state regime, this formula makes local government easy for repackaging ethnic artistic richness in the form of tourism products such as carnival, festival, spectacular event, and collaborative performance. Indeed, the artists and residents will benefit through their cultural participation, but the investors in tourism with neoliberal flexible principles which incorporate exotic characteristics into their services will get greater profits. However, the neo-exoticism formula will not have a major impact on ethnic arts that still follow the traditional standard performances.

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Section: The Problem Of Post-colonial Subjectivity and Cultural Policymentioning

confidence: 99%

Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism

Setiawan¹,

Subaharianto²

2020

Proceedings of the 4th International Conference on Arts Language and Culture (ICALC 2019)

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“…But it has faced challenges in recent academic debates that seek to uncouple economic and cultural value. Banks (2018) has argued that 'creative growth' is not an appropriate cultural policy goal in light of inequalities arising from the distribution of social product, the adverse environmental consequences of capitalist economic growth, and the capacity to constrain cultural imaginaries through a one-dimensional focus upon profits and growth.…”

Section: Introductionmentioning

confidence: 99%

“…There are also well-documented and longstanding limitations of conventional measures of economic activity such as GDP and GVA (Coyle 2015;Quiggin 2014), and these problems are reflected in the difficulties in capturing the value and significance of voluntary and non-market activities in cultural and creative industries statistics. On the other hand, as we will see, there is now a recognised capacity of creative industries, in the face of widespread concern about automation and the future of work, to generate jobs at rates often much higher than the general economy -jobs that even the critics agree can be meaningful and satisfying 'good work' (Banks 2018).…”

Section: Introductionmentioning

confidence: 99%

Introduction to A Research Agenda for Creative Industries

Cunningham¹,

Flew²

2019

A Research Agenda for Creative Industries

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How much should a research agenda for creative industries be shaped by a policy and industry orientation? Academic disciplinary knowledge is typically generated by the successive refining of methods of enquiry and the stabilisation of, and consensus around, objects of enquiry. Developing research agendas for creative industries could not be further from this kind of activity. Looking back at the 'birth' of creative industries, John Newbigin, in Chapter 1, reminds us of the politically experimental, contingent nature of the 'uncharted territory' of 'raising the profile of an eclectic jumble of generally IP-based, culturally-rooted businesses that governments and banks had conspicuously failed to understand or take seriously as part of the economy'. Lutz and Karra (2009, p. 117) argued that DCMS' definition 'does not provide any systematic, persuasive or logical explanation of what precisely its clump of thirteen subsectors (advertising, architecture, art and antiques, crafts, design, designer fashion, software, film and video, music, performing arts, publishing, television and radio) share'. Emphasising these contingent beginnings is by no means to say that rigorous disciplinary knowledge cannot, or should not, be brought to bear in creative industries research. Indeed, much of this book is dedicated to the challenges creative industries pose for knowledge generation in a wide variety of disciplines. It also does not mean that there are not recurrences, consistencies and even constants that researchers can identify as distinctly constituting the field of creative industries research. These fundamental points will arise throughout this book.

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“…A charge of policy universalism (Pratt, 2009) has been posited, with the tendency to support only those businesses or individuals that fit this mold of entrepreneurial and high-growth-orientated models associated with technology and digital content-creating industries. This has further translated into the funding of academic research in the field with the AHRC-funded Creative Industries Clusters specifically tasked with carrying out R&D activity that will "lead to growth within the creative industries" (AHRC, 2017: 2) foregrounding questions around the appropriateness and desirability of this "growth hungry agenda" (Banks, 2018). The contention being that the emphasis has been the support of economic growth and scalability as a defining construct in cultural and creative policy.…”

Section: Introductionmentioning

confidence: 99%

Crafting the local: the lived experience of craft production in the Northern Isles of Scotland

2019

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National creative and cultural industries policy agendas tend to focus on the economic impact of the sector often favouring scalable digital activities based in global clusters, which underpin notions of growth. There has, however, been a re-emergence of craft, which may not be scalable in the same way, into public debate, but which is increasingly recognised as part of a growing industrial sector, with benefits linked to educational, cultural and economic policy agendas. Accordingly, policymakers have begun to view craft as a stimulus to develop local and regional economies, skills and materials in relation to wider networks. Within this push towards craft-driven creative place making and economic growth, it has been argued that more sophisticated understandings of the "local" are needed that go beyond those which are inward and parochial. Based on AHRC-funded empirical research undertaken in the Northern Isles of Scotland with craft practitioners, this article attempts to provide evidence of the place-based nature of craft work highlighting both opportunities as well as constraints linked to contexts that are often referred to as remote and peripheral when contrasted with urban locations. This article argues that there is a dissonance between high-profile creative-economy policies and the political economy of the "lived experience" of craft work in non-metropolitan settings. We argue for future investigation into, what we term, fractal growthgrowth and development that considers multiple dimensionsas being a valid and valuable outcome of creative practice, which cannot be easily scaled.

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Creative economies of tomorrow? Limits to growth and the uncertain future

Cited by 33 publications

References 23 publications

Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism

Neo-Exoticism as Indonesian Regional Government’s Formula for Developing Ethnic Arts: Concept, Practice, and Criticism

Introduction to A Research Agenda for Creative Industries

Crafting the local: the lived experience of craft production in the Northern Isles of Scotland

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